8 Mins.; Two (2); One (6). “The Singing Blacksmith” The singing blacksmith could have posed for Longfellow’s hero if there had been a spreading chestnut tree on the stage at Hammerstein’s, but as there was not a tree in sight the smithy was not a hero. He opened in “two” with a special set, showing the inside of a shop with an anvil. His first song got over fairly well. At its close he went to “one” with two other numbers. They were, “I Had a Gal” and “Tip Top Tipperary” the first did not show his voice to advantage but with the last number he passed of course, a blacksmith in a red flannel shirt and leather not a very pretty stage picturesque “The Singing Blacksmith’ will manage to get over on the smaller bills.
9 Mins.; One. Funny, how this double-voiced thing is springing up among singles in vaudeville. It’s old stuff outside of that. Any single speaking about a notice will use two voices, one when it’s good and another when it’s bad. Rosie Miller hasn’t nearly the singing range that some of the others have talking. One can almost imagine Rosie going into a music publisher, asking what good rags he has hanging around loose and then inquiring the best way they are getting them over nowadays. The publisher Rose spoke to must have told her the double-voice thing was au fait at present. One thing about Rosie is that she enunciates clearly. You can’t miss a word. Every song is the same, and Rosie sang four in nine minutes at the Fifth Avenue Tuesday night. This matter of time is becoming a serious item. Up to Rosie’s appearance the record was 9 mins. 38 secs., held by a single at the Jefferson but maybe Rosie beat her through not getting so much applause. If the orchestra can stand it, singles may yet do five songs in six minutes and doubles go through an act in less than ten. That will be regular motion vaudeville, and would let the house give five or six shows a night, with acrobats getting through their turn under five minutes. But the songs that Rosie Sang! They were “Cotton Blossom Time,” “Carolina,” “Down Below” and “At the Ball.” Got Rosie the most noise, so that is giving Mose Gumble a neat little best of Max Winslow, but it’s 50-1 that either one of those “pluggers” tipped Rosie off to the double-voice thing. It wasn’t announced on the stage, nor the program, nor did Rosie make it very evident. It’s in here through inside info, and it’s just as well, for if Rosie is going right on through vaudeville believing she has a double, it can remain a secret between us. And if she is going to sing rags or any other kind of numbers, Rosie might better do them in character.
10 Mins.; One. Zella Norton varies little from the usual run of women singles who rely on published numbers. This little girl has a good appearance and her songs are put over in a way that should please most audiencess. An attractively dressed single for the small time.
12 Mins.; One. Lillian Sloane is an English single with a pleasing personality but not the right material for this country. With the proper routine she should pass on the small time. Her present three songs have the little suggestiveness found in the majority of English numbers.
28 Mins.; One. The same eccentric and erratic tempest of a couple of years ago, Eva Tanguay, made her return bow to vaudeville Monday afternoon at Keith’s. Her act, as always, is in a case by itself, but as a “Tanguay act” it outshines anything she has previously attempted. Her costumes are, to put it mildly bizarre, but without offense. Tanguay is carrying her own director and a trombone player, the orchestration having much trombone work. She has six costumes, but Monday afternoon used only five, the act running 28 minutes. Her shifts are made with startling rapidity and aid much in speeding up an act which travels in the high always. She opened to cordial applause with “That’s Why They Call Me Miss Tabasco,” the costume being a gold cloth creation, knee length, trimmed with fur and a sort of a toque made and trimmed with the same materials. The second number was “There’s Method in My Madness,” with another golden costume trimmed with bells that accentuated the Tanguay perpetual motion prancing. The song is another of those infectious lyrics dealing with why she behaves the way she does. Her entire act is now based on this theme, with such lines as “preferring to be a nut to working in a laund-ery.” In this costume Eva brings forth the famous Tanguay legs and the three succeeding changes retain that psychological line made famous by her. Her bodices fit even tighter with more form revelation than ever before, impossible though this may seem. Two fit like a coat of whitewash. Her third number is a little weaker and is entitled “I Wonder What I’ll be When I Come Back to Earth Again.” This had the wildest costume of her entire flock, a velvet anklet from which scores of loose velvet cords extend to her waist and from here in erratic bunches to a Tommy Atkins’ hat. It gives the effect of standing in an enormous pair of bird cages. Her forth number is “Stick and Stones Will Break by Bones, But Names Will Never Hurt Me.” The bodice of the costume for this is white silk and green triangular strips extending from what should be skirt to her shoulders and hanging loose. Her fifth song is “There Goes Crazy Eva.” It’s corker and her costume is appropriately unusual. It has a black bodice with starched lace upstanding in circlets from the top of her head, her neck, armpits and waist. She closed her made-to-order songs with “Father Never Brought Up Any Crazy Children,” using the same costume, and did “Peace! Peace! Let the Cannons Cease!” Miss Tanguay says she wrote it herself, but it’s nothing to be proud about. Her encore was “I Don’t Care” as always. Miss Tanguay’s reception was the usual one, a jammed house. Monday afternoon she went on a little late. The new Tanguay act is the best she ever had.
12 Mins.; One. Lillian Sloane is an English single with a pleasing personality but not the right material for this country. With the proper routine she should pass on the small time. Her present three songs have the little suggestiveness found in the majority of English numbers.
28 Mins.; One. The same eccentric and erratic tempest of a couple of years ago. Eva, Tanguay, made her return bow to vaudeville Monday afternoon at Keith’s. Her act, as always, is in a class by itself, but as a “Tanguay act” it outshines anything she has previously attempted. Her costumes are, to put it mildly, bizarre, but without offense. Tanguay is carrying her own director and have a trombone player, the orchestration having much trombone work. She has six costumes, but Monday afternoon used only five, the act running 28 minutes. Her shifts are made with startling rapidity and aid much in speeding up an act which travels in the high always. She opened to cordial applause with “That’s Why They Call Me Miss Tobasco,” the costume being a gold cloth creation, knee length, trimmed with fur and a short of a toque made and trimmed with the same materials. The second number was “There’s Method in My Madness,” with another golden costume trimmed with bells that accentuated the Tanguay perpetual motion prancing. The song is another of those infectious lyrics dealing with why she behaves the way she does. Her entire act is now based on this theme, with such lines as “preferring to be a nut to working in a laund-ery.” In this costume Eva brings forth the famous Tanguay legs and these three succeeding changes retain that psychological line made famous by her. Her bodies fit even tighter with more form revelation than ever before, impossible though this may seem. Two fit like a coat of whitewash. Her third number is a little weaker and is entitled “I Wonder What I’ll be When I Come Back to Earth Again.” This had the wildest costume of her entire flock, a velvet anklet from which scores of loose velvet cords extend to her waist and from here in erratic bunches to a Tommy Atkins’ hat. It gives the effect of stanning in an enormous pair of bird cages. Her forth number is “Sticks and Stones Will Break My Bones, But Names Will Never Hurt Me.” The bodice of the costume for this is white silk and green triangular strips extending from what should be a skirt to her shoulders and hanging loose. Her fifth song is “There Goes Crazy Eva.” It’s a corker and her costume is appropriately unusual. It has a black bodice with starched lace upstanding in circlets from the top of her head, her neck, armpits and waist. She closed her made-to-order songs with “Father Never Brought Up Any Crazy Children,” using the same costume, and did “Peace! Peace! Let the Cannons Cease!” Miss Tanguay says she wrote it by herself, but it’s nothing to be proud about. Her encore was “I Don’t Care” as always. Miss Tanguay’s reception was the usual one, a jammed house. Monday afternoon she went on a little lat. The new Tanguay act is the best she ever had.
12 Mins.; One. A soprano, tenor and baritone make a combination that will do nicely on the small time. Act is costume nicely and was hit with the Bronx audience.
15 Mins.; One. Norine Coffey is a single with appearance and a sweet, powerful voice which she uses to good advantage. Her present routine consists of four published numbers. A little song story is interwoven, and makes a good bit in the act. The first number, quiet, is followed by “Victrola” which Norine puts over with the necessary vim to get some very good returns. After that operatic selection is used which shows Miss Coffey’s voice off to good advantage and the ballad encore fits in nicely although it is not very new. The dress worn is a stunner and it is no wonder she clings to it during the entire act. As a single woman Miss Coffey was a mile ahead of the Broadway and should not have been “No. 2.”
14 Mins.; One (6); Full Stage (8). “The Wedding in Old Tomoon” Jack Lorimer returns to this side with what the program says is a “song scena,” “The Wedding in Old Tomoon.” A song scena on the other side is presumed over here to be a “song production.” Mr. Lorimer had the song, singing it in a full bare stage woodland scene, assisted by Stella Sthal, but that was all it amounted to, just a song and dance. His first song in “one” was “Doing the Seaside” with several familiar Scotch melodies intertwined. His next was a Spanish number, costumed. It has a bit of humor in the idea, a Scotch Spanish dancer. Miss Stahl did not appear until the “song scena.” Mr. Lorimer has hardly a turn of strength, as it played Monday at Hammerstein’s.
